(second block, fourth letter of the prisoners' quadratic tap code...)

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...am here to tap through the walls.



Fri Jul, 24 2009

Gates Dismissed

"Crowley also said that arresting Gates 'was something I really didn’t want to do,' but that 'the professor could have resolved the issue at any time by quieting down and going back into his house.'"
Try to understand, ladies and gentlemen. Professor Gates was arrested simply because this cop disapproved of his attitude. All Gates had to do was behave himself in a way that the cop would have found congenial, and he would have been permitted, you see, to return to his private affairs.

Now, I say that Gates is a fuckin' asshole. It has nothing to do with his conduct in or around his home, which is all his business and he is completely and exclusively welcome to it. It's about his resort to the charge of race as motive in the fuckin' asshole cop. I really am not interested in hearing about Gates' eminence or any of the rest of it while little nobodies are being jack-booted around by these impudent bastards all over the country, every day.

If Gates finds it necessary, for whatever reasoning, to stake himself to race in a matter like this, then he can have it and be as small and ridiculous as he wants to be. However, he had a moment to step out front on a far grander principle. Just mark it that he chose to play it like a punk. His choice must say a great deal for his intellect and values. He can have them. For myself, I only point out that the normal run of my observations of police predation will continue as before, and when any given moral outrage of a case is found in a black man's abuse, I will not require assistance from the likes of Gates. He cannot be relied upon to see the right thing.

That's too goddamned bad. He could have been a real somebody on this front.

(link from Carlos Miller, to whom you should be paying attention)

AxeBites

Various guitars I see floating by, mostly Gibson and mostly eBay.


Early Norlin ES-335 -- 1970, in Walnut ("ES-335TDW"). This is a period-piece look and feel, and arguably the sound as well but that's to cut things very finely. A "classic" 335 would be the original of 1958 in the Sunburst or Natural finish, or the Cherry Red of 1959; the Walnut of 1970 (second year of that finish offering) is not really a "classic" 335. In the history of the Gibson aesthetic, this is analogous to, say, vertically-striped polyester bell-bottoms or Bahama Blue shag carpeting. None of this is to say that they're not cool guitars, and this is a nice one. Excellent photographs.

Chrome hardware, featuring the trapeze tailpiece (like my L-47 and I've always liked it) and ABR-1 bridge with period-typical nylon saddles. Bound rosewood fretboard, with small block markers, and then the crown inlay at the machine head. These would be the T-top Humbuckers. Vintage Nazis would moan that the upper bouts are pointy (the body templates were wearing-out in the factory) and the fourteen-degree machine head with the volute signals a sometimes not-fun era of the line, but these things really do rock or moan or whatever you want a 335-type semi-hollow to do. ...which, of course, is because it really is a 335.


In the months since I've let AxeBites languish all to bleedin' hell, Gibson's Robot Guitar technology has sifted out to other models than the original Les Paul application. I don't know how it's going: I still haven't even seen one of these self-tuners. I don't see piles of them burning on the sides of the highway, nor reverent hangings in display cases over bars, so who knows? This 2008 Robot SG is ready to rock in the Metallic Red. Nickel hardware; it's the stoptail wired for data to send to the tuners, with dual Humbuckers. It's a bound rosewood fretboard, but I really like the single-bound machine head with the crown inlay. That's a real cool old-school look, right there, to set off that crazy-ass color. {nod}